In the diversity of their clients as well as their professional and student staff, writing centers present a complicated set of relationships that inevitably affect the instruction they offer. In Facing the Center, Harry Denny unpacks the identity matrices that enrich teachable moments, and he explores the pedagogical dynamics and implications of identity within the writing center.
The face of the writing center, be it mainstream or marginal, majority or miority, orthodox or subversive, always has implications for teaching and learning. Facing the Center will extend current research in writing center theory to bring it in touch with theories now common in cultural studies curricula. Denny takes up issues of power, agency, language, and meaning, and pushes his readers to ask how they themselves, or the centers in which they work, might be perpetuating cultures that undermine inclusive, progressive education.
The Fascist Revolution is the culmination of George L. Mosse's groundbreaking work on fascism. Originally published posthumously in 1999, the volume covers a broad spectrum of topics related to cultural interpretations of fascism from its origins through the twentieth century. In a series of magisterial turns, Mosse examines fascism's role in the French Revolution, its relationship with nationalism and racism, its use by intellectuals to foment insurrection, and more as a means to define and understand it as a popular phenomenon on its own terms. This new edition features a critical introduction by Roger Griffin, professor emeritus of modern history at Oxford Brookes University, contextualizing Mosse's research as fascism makes a global resurgence.
"Many topics of interest to health professionals, such as vegetarianism, dietary fibers, lactose intolerance, favism, cannibalism and changes in nutritional status wrought by the decline of hunter-gathering and the rise of horticulture. Many sections will appeal to the general reader."
--Journal of Applied Nutrition
The old adage "you are what you eat" may be more accurate than anyone could have ever imagined. This unprecedented interdisciplinary effort by scholars in primatology, biological anthropology, archaeology, nutrition, psychology, agricultural economics, and cultural anthropology suggests that there is a systematic theory behind why humans eat what they eat.
Includes discussions ranging in time from prehistory to the present, and from the most simple societies to the most complex, including South American Indian groups, African hunter-gatherers, and countries such as India, Bangladesh, Peru, and Mexico.
"Exceptionally well-edited. High quality individual papers are of comparable scope and are uniformly well referenced and detailed in presentation of supporting data Introductory and concluding chapters as well as section overviews create an integrated whole."
--Science Books & Films
"Should be of value to all nutrition educators who have an interest in the social, cultural, and international aspects of foods and nutrition."
--Journal of Nutrition Education
Italian director Michelangelo Antonioni claimed, three decades ago, that different conceptions of time helped define the split in film between European humanism and American science fiction. And as Garrett Stewart argues here, this transatlantic division has persisted since cinema’s 1995 centenary, made more complex by the digital technology that has detached movies from their dependence on the sequential frames of the celluloid strip.
Brilliantly interpreting dozens of recent films—from Being John Malkovich, Donnie Darko, and The Sixth Sense to La mala educación and Caché —Stewart investigates how their treatments of time reflect the change in media from film’s original rolling reel to today’s digital pixel. He goes on to show—with 140 stills—how American and European narratives confront this shift differently: while Hollywood movies tend to revolve around ghostly afterlives, psychotic doubles, or violent time travel, their European counterparts more often feature second sight, erotic telepathy, or spectral memory. Stewart questions why these recent plots, in exploring temporality, gravitate toward either supernatural or uncanny apparitions rather than themes of digital simulation. In doing so, he provocatively continues the project he began with Between Film and Screen, breaking new ground in visual studies, cinema history, and media theory.
Psychiatrist, philosopher, and revolutionary, Frantz Fanon is one of the most important intellectuals of the twentieth century. He presented powerful critiques of racism, colonialism, and nationalism in his classic books, Black Skin, White Masks (1952) and The Wretched of the Earth (1961). This biography reintroduces Fanon for a new generation of readers, revisiting these enduring themes while also arguing for those less appreciated—namely, his anti-Manichean sensibility and his personal ethic of radical empathy, both of which underpinned his utopian vision of a new humanism. Written with clarity and passion, Christopher J. Lee’s account ultimately argues for the pragmatic idealism of Frantz Fanon and his continued importance today.
Cinema has been undergoing a profound technological shift: celluloid film is being replaced by digital media in the production, distribution, and reception of moving images. Concerned with the debate surrounding digital cinema’s ontology and the interrelationship between cinema cultures, From Light to Byte investigates the very idea of change as it is expressed in the current technological transition. Markos Hadjioannou asks what is different in the way digital movies depict the world and engage with the individual and how we might best address the issue of technological shift within media archaeologies.
Hadjioannou turns to the technical basis of the image as his first point of departure, considering the creative and perceptual activities of moviemakers and viewers. Grounded in film history, film theory, and philosophy, he explores how the digital configures its engagement with reality and the individual while simultaneously replaying and destabilizing celluloid’s own structures. He observes that, where film’s photographic foundation encourages an existential association between individual and reality, digital representations are graphic renditions of mathematical codes whose causal relations are more difficult to trace.
Throughout this work Hadjioannou examines how the two technologies set themselves up with reference to reality, physicality, spatiality, and temporality, and he concludes that the question concerning digital cinema is ultimately one of ethical implications—a question, that is, of the individual’s ability to respond to the image of the world.
In this study, Christian Vandendorpe examines how digital media and the Internet have changed the process of reading and writing, significantly altering our approaches toward research and reading, our assumptions about audience and response, and our theories of memory, legibility, and context. Reflecting on the full history of the written word, Vandendorpe provides a clear overview of how materiality makes a difference in the creation and interpretation of texts. Looking to the future, reading and writing will continue to evolve based on the current, contested trends of universal digitization and accessibility.